Author(s):
carpeaux, jean-baptiste (valenciennes, 11–05–1827 - courbevoie, 12–10–1875), sculptor
other title: eugénie fiocre (dummy title)
production date: between 1869 and 1870
dating in century: 3rd quarter of the 19th century
type(s) of object(s): sculpture
name(s): bust
materials and techniques: plaster, patina
dimensions - artwork:
height: 84cm
width: 53cm
depth: 33cm
marks, inscriptions, hallmarks:
signature - signed lower left: "carpeaux"
iconographic description:
bust of mademoiselle fiocre, dancer at the opera. Rather than showing her as a ballerina – as degas had done a few years earlier – carpeaux represents eugénie fiocre as he represents his usual models, duchesses, marquises, or princesses: the smooth bust emerges from the agitated pleats of a drape borrowed from the most beautiful portraits of the baroque era, perched on a classic pedestal. This elegant formula highlights all of carpeaux's female busts; here, paying homage to the curve of her back, the delicacy of her features, her mischievous nose, her captivating beauty, he also manages to grasp what his model will be. Indeed, after her dancing career, she had a beautiful marriage and became marquise de créqui de courtivron-montfort. Historical commentary:
the charming face of mademoiselle fiocre is an example of the talent of carpeaux, who left us a remarkable gallery of portraits from the second empire. In 1870, eugénie fiocre, principal dancer of the paris opera, was at the height of her career: she was then the delightful interpreter of coppélia. Carpeaux executed this bust when he was working on la danse, a bas-relief for the facade of the opera, one of his major works; the marble, exhibited at the salon of 1870, will be admired by the goncourts. Rather than showing her as a ballerina – as degas had done a few years earlier – carpeaux represents eugénie fiocre as he represents his usual models, duchesses, marquises, or princesses: the smooth bust emerges from the agitated pleats of a drape borrowed from the most beautiful portraits of the baroque era, perched on a classic pedestal. Elegant formula highlights all of carpeaux's female busts; here, paying homage to the curve of her back, the delicacy of her features, her mischievous nose, her captivating beauty, he also manages to grasp what his model will be. Indeed, the fate of dancers was not enviable in the 19th century: poverty, decline, prostitution awaited them when they left the opera. Eugénie fiocre was a happy exception: she had a beautiful marriage after a career filled with glory. A. S. Themes / subjects / places represented:
portrait, woman, dancer
person / character depicted:
fiocre, eugénie
mode of acquisition: donation (notarial deed)
name of donor, testator, seller: clément-carpeaux, louise
date of acquisition: 06–1938
institution: petit palais, museum of fine arts of the city of paris
inventory number: pps1536. Date: between 1869 and 1870.
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